American, English and French bookplates from private and institutional libraries. Box four contains some related correspondence concerning Welch's collecting and exchanging of bookplates. Four letters are from the English painter-etcher, Charles William Sherborn, who designed a bookplate for Welch's wife, Fanny Fredericka Dyckman Welch. The original etched plate is also enclosed.

Typescript copies and copyrights to seven of Gudeman's scholarly publications. These are MANUAL OF THE HISTORY OF CLASSICAL PHILOLOGY (which has had eight editions), typescript with six large envelopes of illustrative material, photographs, etchings, and various other types of reproductions; IMAGINES PHILOLOGORUM, a new edition of a biographic, bibliographic index to the field of philology; bibliography of Aristotle's DE POETICA; a manuscript in Greek of the text of Aristotle's DE POETICA; Sallust CATALINE, 4th ed., numbers 1-5 "ready for publication;" English translation of Gudeman's own work containing HISTORY OF LATIN LITERATURE; and COLLECTION OF CRITICAL ESSAYS and THE WORLD'S LITERATURE, 30 volumes. Also, various letters, lecture notes, club membership lists, and Gudeman's own lists of and notes about his works.

This collection includes primarily original etchings, engravings, and lithographs, as well as published images from a variety of sources, of individual architectural structures or the built environment. Most of the images are uncolored. The collection is especially strong in images from the United States and England. A significant number of images are plates from Walter Harrison's "A new and universal history, description and survey of the cities of London and Westminister, the borough of Southwark, and their adjacent parts." (London, J. Cooke, 1776). A small portion of the collection depicts decorative arts and interiors. Also included are a few ephemeral items--such as tickets, letterhead, receipts, and bills--that include architectural imagery.

Correspondence and works of Andre Racz, including one letter from Gabriela Mistral, 1952, a portrait of her (etching-aquatint), Ricz's etching (metal plate) for Mistral's POEMAS DE LAS MADRES (Santiago, Chile, 1950), a Christmas card, 1970, illustrated and signed by Racz, and a holograph of Thomas Merton's poem AUBADE--HARLEM, Racz's facsimile of this poem etched on a zinc plate, and his artist's proof pulled from the plate. Also, signature practice page for scroll presented to President Sovern by the Executive Committee of the Faculty in appreciation of his work as chairman, 1968.

A collection of original artwork, published books, printed ephemera, and branded merchandise by the writer and artist Edward Gorey (1925-2000), assembled by Andrew Alpern.

Etchings of German-American artist Anton Schutz

The collection consists of 68 prints out of a set of 70 from woodcuts created by Romanian-born painter Arthur Segal (1875-1944) between 1912 and 1919. The prints, from Segal's original blocks, were made on handmade paper by William Carter, and published by Richard Nathanson.

Letters, manuscripts, documents, and printed materials by and relating to explorers of both poles. Many of the letters are addressed to Vilhjalmur Stefansson or Bassett Jones. The letters for the most part discuss subjects of professional interest. Thre are printed materials, photographs and memorabilia of many expeditions and explorers.

This collection contains primarily 19th-century published prints depicting British and French dramatic theatres, with a small representation of international theatres. Images of sculpture, costumes, and fashion plates are also included. The majority of images are from published sources and are colored. Nearly all the prints are titled and most include artist, printer, and/or publisher information. Many noted printmakers are represented in this collection.

Charles Adam Platt (1861-1933) was an American architect and landscape designer. Although best remembered today for his landscape and country house designs, he was also nationally known for his etchings, landscape paintings, commercial architecture, and institutional projects. He was largely self-taught in each of these disciplines, building his success on his ability to reconceive the classical tradition in architecture for the needs and desires of his wealthy, powerful clients. This collection contains materials related to Platt's personal and professional lives, the bulk originating from Platt's office in the form of project drawings, photographs, and records documenting architectural projects from 1901-1933.